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I've listened to Mehldau's Live at Marciac, which is a double solo CD. As always, Mehldau has developed a way of playing solo piano that is all his own. I really like it (big surprise), although I tend to prefer piano with at least one other rhythm instrument.

For those into solo piano, I highly recommend Excelsior by Bill Carrothers. If you subscribe to Spotify it's available there. Carrothers is a little know but very creative pianist (a favorite of my teacher). What is extraordinary about Excelsior is that, according to his web site (which I have no reason to doubt) all of the pieces on the CD are spontaneous improvisations. The pieces are generally slow and contemplative with incredibly creative harmonies. These would be great compositions; that they were created spontaneously is all the more amazing.

I should report on the concert. It was a double header with Brad Mehldau Trio and Bad Plus + Joshua Redman.

I've never heard Bad Plus before, but probably not wise to stick Ethan Iverson next to Brad Mehldau. Brad was AWESOME. He doesn't even sound like his old trio records anymore. His technique, tone, touch seems so refined compared to the 90's. Totally pianistic playing. Dynamics, subtle touches. Phrasing is completely anti-bebop almost. Like he purposely avoids long strings of eighth notes, instead preferring variances in subdivisions so it sounds unique. This alone makes him purposely sound different than Jarrett.

But yet the technique side is starting to sound like Jarrett.

I sat pretty close to the stage in this big theater so it was great. Opening tune was an up version of Beatrice. Since we've all been playing Beatrice lately, this was a nice treat. He gave me some ideas. I was amazed at the perfection of his lines. Every phrase was just right. He was in top form for sure. I ought to comment that my ears weren't ready to appreciate what he did before and I'm a little better at this now.

I wish I had a recording of what he did so I could transcribe.

Now onto Bad Plus. It's a very interesting band in that it's a piano trio. But their tempos and rhythm does not derive from swing. It's a more free style of straight eighths. Interesting too with their tunes that are their own compositions. Complex harmonies. The problem is that the complexity of the harmony took away the melodic sense. There's almost an absence of it on the piano side. I'm sure if I saw Bad Plus by themselves I would have appreciated them more. But that stark contrast against Mehldau just made me lose a bit of interest.

In any case, I thought I learned quite a bit from watching. When I take something from the concert, then I think I've just had a piano lesson. In contrast, I didn't take as much from Herbie because his stuff was too difficult to comprehend on the spot. I'd have to study that more.

Jazzwee: I saw The Bad Plus a couple of years ago and had a similar reaction. I liked the overall sound of the band, but in a trio like that, inevitably the piano solos are a key component, and I just didn't really care for Iverson's playing. It sounded like noodling around rather than a telling me a story. Mehldau, in contrast, is one of those players where you're practically holding your breath to see where he goes next, and you fell like you've been a journey when he's done with his solo.

jjo, that description is perfect. That's exactly what it sounded like. However, Joshua Redman changed the whole picture. I watched Joshua with Brad Mehldau a couple of years ago. He's on the Highway Rider Album. Now here's a guy that put a little bit of bebop feel in Bad Plus. He was another awesome player. I just mean Bebop 'feel' because of 8th note lines and articulation. The vocabulary though was not bebop and it fit the complex harmonies of Bad Plus perfectly.

Rhythmically, Iverson was loose with the feel. So you don't get a sense of the drive of streams of 8th notes. Brad's style doesn't require 8th notes because it was so dense with varied subdivisions and continuous melodic snippets. Iverson was more open and frankly more random.

I was listening again to Brad's recordings last night, including ones with Jeff Ballard, and you can just see growth even in the melodic content in his live performance. I remember people making comments that Brad is 'cold' to them. I have to say, that listening to him live, the melodies were exciting and really starts to bring that Keith Jarrett vibe in there. Again the only difference is that it's more complex rhythmically and not 8th note driven.

Brad also mixed in some breaks in the tune by going solo for a bit and showed off his left hand. The guy is a monster in making the piano sound so full just by himself. And with no pedal at all. He fills it in with his thumbs while both extremities of his hands are busy with high and low melodies.

The use of dynamics is rare in jazz. Brad not only mixed it in a trio setting, but just the way he phrases now is so beautiful. Every note counts. Something we attribute to Jarrett.

And compared to listening to Herbie's occasional solo, here I was treated to non-stop piano playing. So there was a lot more to pull from. Anyway, Brad made me work on all my heads yesterday. I've just pounded those heads mechanically and I need to make every note count and make it sing like a human. You could see the expression in Larry Grenadier's face like Brad just did something amazing. I would have thought he would be used to it by now. But I guess he couldn't stop himself. I was amazed too at the solo piano portion.

Over the last couple of years, I've made my gigs quartets/quintets because I was always insecure about being the focus in a trio setting.

This month, I'm starting a true trio gig. I took my guitar player out. Even when he was around, I took most of the load in preparation. I played most of the heads. But now I have to carry the band. As we discussed with Bad Plus, when you go trio, then it's all about the piano. Well I still have a singer to handle half the heads at least. So this is a big step for me.

Jazzwee this sounds great, excellent solo and your comping behind the tenor solo is just perfect. Very impressive indeed. I look foward to hearing your trio. I must say this is very inspiring to listen to.

Jazzwee: great description of Mehldau! I think he does continue to astonish his band mates.

I had a really nice gig last Friday -- DON'T LAUGH -- at a Church bingo fundraiser. I played just piano and bass duo, using an old upright they had. I really enjoy the intimacy of that combination. We had 20-25 people sitting and listening (the bingo was in a separate room) and, at least the people who came up and spoke with us, claimed to have really liked it. Had a classical piano player say she was jealous of our ability to play swing tunes.

I'm always amazed at the reaction of people to classic jazz tunes when so many clubs are struggling. These were not die hard jazz fans; many probably haven't been to a jazz concert ever. I think there is something about the jazz club atmosphere, plus the tremendous virtuosity of pro players, plus the need to use odd time signatures and other creative devices, that makes a lot of people think jazz is some pretentious form of music that is just for the "in" crowd of those who understand it. But a couple of regular guys just playing a bunch of standards, at not the highest level, and people seem to have a great time.

Thanks to the kinds comments Chris and Jazztpt. To be honest, I stopped practicing for awhile so some things like time got a little worse for a little bit. I've increased the shedding again so hopefully those obvious timing errors will lessen.

jjo, of course I know exactly what you're talking about in your comments about Jazz. I play regularly to packed places listening to music that everyone says is dead. I would have never thought that I could play obscure tunes like Giant Steps, Windows, Dolphin Dance, Inner Urge, etc. to an unsophisticated listener. But because I mix it up, they're more than willing to accept it. But you do have to play the familiar Bossas and regular danceable swing stuff too.

I'll leave the gigs with reharmonized and unrecognizable tunes to the more advanced players. But the reality is that the recognizable tunes are almost not played by the sophisticated players. It's almost a point to do ATTYA and Autumn Leaves in some cool way that make them sound different. Well and good because then there's the open market for the people who just like to hear the familiar jazz tunes. I'm glad that my limited skills allow me to do that.

I think Jazz clubs will tend to be the more sophisticated (complex) forms of jazz, so it attracts a different audience. I'm not afraid to perform in such clubs anymore though I have not done it much. The reason only being that the clubs don't pay. You have to make money from your own crowd. I only take paying gigs because I have to pay the other musicians.

In any case, fortunately, the crowd that I usually play to don't expect anything too intellectual, though they will accept a certain amount of it.

Hah, thanks and I'd love to, but yeah, unfortunately L.A. (or socal in general) is a bit far. Luckily enough, I still get the opportunity to see a few big names up around Sacramento. I got the pleasure of seeing Chick Corea at a weird (small) venue a week ago up here before he and his new band/project, The Vigil, left for the rest of their international tour, for instance, and they were great.

Don't think that many of you here are still with a teacher, but I am, and the annual piano party, as she calls the recital, is next Sunday. I'll be playing, solo, Bud Powell's Dusk in Sandi(or Saudi; the name is uncertain). It's a little played masterpiece, as far as I'm concerned. Only Chick Corea has covered it to my knowledge. Then I'll be playing Emily with bass and drums, using an old Bill Evans trick where you go up a minor third in the second half of the head. So if you start in C, you finish in Eb. These kinds of challenges hopefully keep me moving forward.

Real bass and drums, or recorded? I have one coming up and was wondering if anyone ever used a backing track. There is 0.0% chance that I would ever get a bass player and drummer to show up to a little piano recital.

Thanks. Sounds like you are way beyond me if you are playing Emily with the esoteric Bill Evans tricks! I'm glad there are still some of us who love this music. I was heartened to see the thousands that signed up for the Gary Burton Coursera improv course.

jjo - it's amazing you have a jazz teacher with enough students to have an actual jazz recital. About the best I got when I was taking lessons was to have the teacher play on a second piano. So that's the closest I got to a jam session.

But I guess nothing beats failing at a jam session and then learning from that. I remember back at the beginning when I would only play at 25% of my capacity due to self-consciousness and intimidation.

In addition to my gigs, I run a twice a month jam session and since I'm the Jam organizer, no one can challenge me. LOL.

And when one gets to the point of not caring, I think the musicality improves because more of the attention of focused on the melodies rather than what some pianist watching you is thinking about. Even at gigs now, people stare at me as I play. I can actually stare back now. And on occasion have a conversation with a patron.

sorry for the random diversion, but are any of you familiar with David Bennett Thomas and his theory/harmonic analyses on youtube? Boy are some of these cool (at least for the first few seconds while what's going on can actually be comprehended )

jazzwee: I agree that "not caring" in the sense you mean it can be the key to reaching your potential. I play at the recital because it's motivation to learn something out of my comfort zone. But my actual performance is never as good as what I play at gigs, because there is a teacher and a room full of jazz students, so I try intellectually to play clever "proper" jazz stuff. At gigs I just let it rip, probably play some awful stuff, but also play my best stuff.

Wish I had some jam sessions around here! There are a couple every week, run by local pros, but I haven't worked up the nerve to start attending.